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1) Raga Lakshana:

Raga Lakshana is the technical boundary of the raga. There are various factors that determine the Lakshana of a raga the arohana and the avarohana (the ascending the descending order of the scale), the characteristic phrases of the raga, the special distinguishing prayogas, the gamakas peculiar to a particular raga and so on. In fact different gamakas even when applied to the same swara portray different shades and is one of the factors that helps one differentiate between ragas. [ The Hindu: Torchbearer of a great tradition ]

also see carnatic - raga list



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2) A Technical Introduction - Shruthi: .....even in Carnatic, we have 12 notes in the octave, even though they are referred to by 16 names.....If we assign R1, R2 & R3 to the three possible Rishaba notes and G1, G2 & G3 to Gandhara notes, the actual pitch of R2 is same as that of G1 and R3 is same as that of G2. So, instead of 6 possible notes between Sa and Pa, we only have 4 (R1, R2 or G1, R3 or G2, G3).....

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3) srivallee dhEva SEnaapathE sri SubramaNyaa namOSthudhE:

raagam: natabairavi    thaaLam: aadhi 1 kaLai

pallavi: srivallee dhEva SEnaapathE sri SubramaNyaa namOSthudhE (srivallee)
anupallavi: dhEvathaa Saarva bowma jaya jaya thavishatbuja kaarththikEyaa mEyaa (srivallee)
charaNam: maa ma va Sa thaa sivakumaaraa-vi maaneekrutha chithra mayooraa-chritha kaamitha pala thaayaka hathasoora karuNaa jaladhara jagathaathaara (srivallee)
anupallavi pOl: kaamitha pala thaayaka Hadha soora karuNaa jala dhara jagathaa thaaraa (srivallee)
source

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4) parathpara paramEsvara:

1.74.  raagam: vaachaSpathi  thaaLam: dhEsaadhi

pallavi: paraathpara paramE@svara paarvatheepathE Harapa@supathE (paraath)
anupallavi: SuraaSurar thozhumpaavanNa Sundhara charaNaavindha aanNandha (paraath)
charaNam: ariyayanuNG kaaNavariya jOdhi aadhiyandhamillaap pazhamanNaadhip *purameriththa mukkatkarumbE enRan puNyamoorththi SubraHmaNyan thandhaiyE (paraath)


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5) Ragascape - Music of India - Steven Landsberg: Type the description here.

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6) Gamakas and its varieties: Type the description here.

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7) The 22 Sruthis of Carnatic Music: Type the description here.

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8) Percussion Primer: Suladi Sapta Taala system ------------------------- Although there are various taala systems in Indian music, like the 108 taala system, the suladi sapta taalas (7 different taalas) have been most popular in Carnatic music since the time of Purandaradasa (1484-1564). Hence I will try to explain this taala system, in which >75% of contemporary Carnatic music is set. A convenient way to describe this taala system is to enumerate the various terms encountered in this framework, and to explain each one.

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9) Ragaas and Discussions: Type the description here.

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10) Carnatic - Raga List: list of carnatic ragas

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11) Janya Ragas: Type the description here.

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12) Melakartha Ragas - Katapayadi Sankhya: Rules for numbering the 72 melakarta ragas

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13) Sangeetha Sastra: Notes or Swaras

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14) ShRIman nArAyaNa ShRIman nArAyaNa:

rAga: bauLi          tALa: Adi

by Annamacharya


ShRIman nArAyaNa ShRIman nArAyaNa
ShRIman nArAyaNani ShRIpAdamE SharaNam

kamalAShadI mukha kamala kamalahita
kamala priyA kamalEkshaNA
kamalAsanahita garuDagamana ShRI
kamalanAbha nI pada kamalamE caraNam

parama yOgijana pAgadhEya ShRI
parama purushA parAtparA
paramAtma paramANurUpa ShRI
tiruvEngkaTagiri dEvA caraNu


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15) AkhilAndEswari Raksha mAm:

=====
Ragam DvijAvanthi (JujAvanti) (Melam 28 Harikambhoji)
TaaLam Adi
Composer: Muthiuswami Dikshitar
Deity:  Akhilandeswari (Tiruvanaikka near Trichy)

Pallavi:
^^^^^^^

AkhilAndEswari Raksha mAm
Agama SampradAya NipuNE  Sree

Anupallavi
^^^^^^^^^^

Nikhila Loka NityAtmikE VimalE
NirmalE syAmaLE sakala KalE

CharaNam
^^^^^^^^

LambOdara Guruguha PUjitE
LambAlakOtbhAsitE HasitE
vAgdEvatArAdhitE VaradE
Vara Saila rAja nutE sAradE
JambAri sambhAvitE JanAraddhana nutE
JujAvanti RAga nutE
JallI maddaLa jarjjara vAdya
nAda muditE JnAna PradE

( source : http://www.caip.rutgers.edu/~nrao/akhilandeswari.txt )
=====


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